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February 2021 Vol.1 Issue 1

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February 2021 Vol.1 Issue 1 Do You Know what It Means to MIss new orleans ? A monthly newsletter that celebrates the music, cuisine, and culture of New Orleans ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Ric Frank –editor- February 2021 Volume 1, Issue 1 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ _ Welcome Welcome to our first issue. We will be interviewing musicians from New Orleans as well as recommending restaurants, music clubs, and much more. Inside this first issue you’ll find an article on Parkway Bakery and Tavern, Yardi Gras, an in- terview with Charles “Charlie Dozen” Joseph, an article on the Jambalaya Brass Band, photos of the New Orleans Jazz Museum and of Mardi Gras Indians. Parkway Bakery and Tavern This gem was established in 1911 by In addition, due to the proximity of Charles Goering, Sr. and is located in the the American Can Company that op- Bayou St. John area of New Orleans. In erated 24 hours a day, Parkway stayed 1922 it was bought by Henry Timothy, Sr. open 24 hours a day too. who made great breads, donuts, and was fa- My favorites are the roast beef, bbq mous for his Seven Sisters sweet rolls. beef, and oyster/shrimp po’boys. A friend that grew up with them told In 1929, the poor boy was created by Ben- me that the gravy on the roast beef nie and Clovis Martin, two brothers who po’boy just runs right down your arm. owned Martin Bros restaurant and were for- Parkway Bakery & Tavern mer streetcar operators. The Martin broth- ers came up with the simple but hearty 538 Hagan Avenue New Orleans, LA sandwich when the Amalgamated Associa- 70119 tion of Electric Street Railway Employees, 504.482.3047 Division 194, went on strike, sending 1,800 Open: WED, THU, SUN: 10AM - 4PM, unionized streetcar drivers and motormen off the job and onto the picket line. FRI - SAT: 10AM - 8PM Closed: Mondays & Tuesdays The Martin brothers gave away sandwiches to the strikers, and the story goes that when a striking union member walked into their restaurant, Benny would call to Clo- vis, “Here comes another poor boy!” That year Mr. Timothy Sr. started making “Poor Boys” in solidarity. Parkway fed the union members and conductors French fry poor boys for free Charles Joseph interview Charles Joseph is a native New Orleanian, the son of world renowned trom- bonist, Waldren ‘Frog’ Joseph. Charles plays the trombone and was one of the founding members of The Dirty Dozen Brass Band. RF - What part of New Orleans did you grow up in? CJ - Uh, well that was the 7th ward. Some of the new kids understand the ward thing ya know, but many wouldn’t even know what ward they’d be in nowadays ‘cause of them using GPS.. The 7th ward kinda consist of coming from Esplanade all across town to Elysian Fields, So ‘least when I was born we were on St. Bernard Avenue RF - So when did you move over to the Elysian Fields? CJ - I think I was in the 2nd grade when we made that move. That would put me at 7-8 years old. RF - What is your favorite part of growing up in that area of New Orleans? CJ - That’s kinda hard to say I mean. At that age or later on? RF - Both. CJ - Um okay um. It was much easier when I was young, ya know. It didn’t matter what neighborhood. When I was born on St. Bernard or the one on Elysian Field they were almost the same even though Elysian Fields had more mixed neighborhood, but you know, whites and blacks and Italians and all that kind of stuff. RF - Your father was a very important musician in the New Orleans music scene. What was it like growing up in that atmosphere? CJ - Ummmm. That’s another question again, in what period of time did I have any conscious level of under- standing who he was. Ya know what I’m saying? RF - When did you understand what his importance was in the music scene and how old were you then? CJ - Well, even at an early age I knew that from the kind of people that came to the house. Ya know what I’m saying? There was a number of people that used to come, I mean with different colors and sizes, ya know. Yeah, but I understood that when I was in elementary for sure, ‘cause that’s when I first started trying to be a musician, trying to join a band in elementary and be a drummer, but of course when you go to school they got all these drummers but they don’t have trombone players. I wasn’t supposed to be a trombone player ‘cause my dad played and I had my brother Gerald that played trombone but it turned out the way it turned out. RF - What was the first instrument you learned and how old were you when you started? CJ - Well I mean the horn was always at the house, I mean I was always touching it maybe not consciously, but I always had it in my hands for some reason or another ya know. RF - Was your daddy your teacher on trombone? CJ - I wouldn’t exactly say that. I wouldn’t say that ‘cause like I say ‘cause I didn’t want to do that. There was always heavy, heavy duty music philosophy that he would instill in my head at an early age even later on in life. He would say some things like, you should play this kind of phrase, you should practice this practice that, but I think I can’t say he was a teacher but he was a heavy influence ‘cause it was a natural evolution for me to pick up the horn later on in life. He was a legit musician that played piano and drums as well as trombone. He gave us so much all the way around, but I think it was a natural evolution for me to wind up picking it up and…I think what really happened with me becoming a trombone player was that there were so many things that I knew musically from my dad and his friends and that I heard and knew Mmmmm Hmmm Yeah that’s right. Ain’t that the stuff. RF - So did you have a private teacher like at school? CJ - The first music band teacher I had was at Rivers Frederick junior high, Mr. William Hillson, Sr. I think that’s where I might have got really interested, you know was in junior high, only because, you know, we played for the football games. RF - Were you playing in the elementary school band? CJ - No I never joined there or nothing. RF - Who were some of your favorite trombone players? CJ - Ummm, wow. I wasn’t that much into the music. RF -I mean like even now do you have favorite trombone players? CJ - Okay, locally I think that if I was playing trad music, that would be around my favorite. They all had something to say that they were offering. Ya know, music is like when you offer yourself y’all create something. I was conscious of that kind of thought, kind of process. They had so many cats around that all had a different style and I appreciated all of them, ‘cause those cats were anywhere from 20 years to 100 years old and I mean when I was around, ya know. Yeah, that’s how it happened. RF - Who hired you and how old were you when you played your first job? CJ - Well, that’s kinda hard to say that but I know for sure Doc Paulin was one of my first paying kind of gigs on a regular basis. Mr. Paulin was the first gig on a regular paying basis ‘cause I used to go uptown all the time on Saturdays and Sundays and do the church thing, ya know. Me, Tuba Fats, Gregory Stafford, and Joe Tor- regano. I could name a bunch of them but anyway, Doc Paulin would be the very first in junior high school, senior high school on the weekends. RF - Do you recall anything about that experience, what it felt like to play that first time? CJ - I can’t say exactly when, but throughout the years the transition when playing with all the different older brass bands was when I started realizing that all trumpet players played the melodies different, that made the trombone players play the “tailgate” different, the approach to the music melodies was different. So each one of those bands was different. Eureka, Onward, Olympia brass band. They all had a different approach. RF - Did everyone in the family play an instrument and what instruments did they play? CJ - At one time or another I think except for Judy. There were 5 boys and 2 girls. My oldest brother, Walden, now I know for sure he used to do a little singing. Second to those my brother Albert, he played the Fender bass. Electric Fender bass ‘cause at one time they didn’t have no real bass guitar and then Gerald played the trom- bone, Gaynelle, my sister Gaynelle, played the clarinet, and Judy, I don’t recall her doing anything. Then came me, then came Kirk who started on drums and then changed to sousaphone, and then my mother, she used to play the piano a bit. RF - Did you ever have a band with all your siblings? CJ - No that never happened, not for anything except for Kirk and I.
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